Rich in religious and artistic imagery, "Trouble the Water" is an intriguing exploration of race, sexuality, and identity, particularly where self-hood is in constant flux. These intimate, sensual poems interweave pop culture and history moving from the Bible through several artistic eras to interrogate what it means to be, as Austin says, fully human as a queer, black body in 21st century America. "
Derrick Austin was born in Homestead, Florida. He received a BA from the University of Tampa and, in 2014, an MFA from the University of Michigan. He is the author of Tenderness (BOA Editions, 2021), winner of the 2021 Isabella Gardener Award, and Trouble the Water (BOA Editions, 2016), selected by Mary Szybist for the 2015 A. Poulin Jr. Prize. A Cave Canem fellow, he is the recipient of fellowships from The Wisconsin Institute of Creative Writing and Stanford University. He currently lives in Oakland, California.
Glory is a strange word. It can mean both praise that one gives to God and others, or it can signify the height of one's own achievement "He had reached his full glory as a writer." The word glory is used liberally in Protestant bibles; in the Catholic bible the word is often replaced with "brightness." All of these senses are applicable in Derrick Austin's glorious debut collection. The book is suffused with brilliance, a light which shines both on God and man, in some of the most rapturously devotional poems ever penned. "Expect a fire to the heart," writes Austin. "He will press His light into our bones and mouths, wear out our simple faces." What makes these devotions even more moving is the way in which they are anchored inside a life at the edge of transformation, where tidewaters meet gulf and the ecological realities of hurricane parties or of men in hazmat suits cleaning the toxic oil spill along the coast. Add to this global uncertainty, the still all-too-common ways in which race ("I can't stand to/ look ahead/ at another dead black boy") and sexuality ("exposing all/ the simple gemlike gears of my erotic life") can imperil us. But these dangers do not triumph. Even in Austin's elegy for Derek Jarman, who died with aids in 1993, there is an abiding radiance. "His soul tarries here." Derrick Austin's poems move through centuries of veneration and devoutness in art, architecture, worship and yes, even drag culture, as a way of affirming the glory and grace of the human condition. Our state of suffering is made holy through faith in a God who, Himself, has suffered on Earth. Describing the effigy of the body of Christ, Austin reminds us that He, too, has "been brought down before--ancient graffiti--/ and had 'love' carved into Him once more." Lest the reader think that this is going to be sweet Sunday school verse, I should say emphatically that this is nothing of the kind. The poems are formally elegant in every way, but they are broader and more inclusive of popular culture and of unabashed sex and sexuality. There is bravery at every turn, and at the same time, this is poetry that reaches back into human history and spirituality, refusing to compartmentalize the body and soul as separate considerations. This is poetry touched by our own image: alive, awake and glorious in every way we hope that art can be.
i tried to not read this in one sitting but couldn't help myself. i picked this up on the heels of another collection that read like it might have been written on a 3 day long adderall binge, so i appreciated that you could tell this was written over many years, in many moods and settings, and that the consistency in his writing is his clear eyed seeking and honesty. i was clutching my pearls a bit, it's pretty raw at times, but none of it seemed unnecessary. so much of it being set along the gulf was a nice change from the typical (farm or nyc). great foreward by mary, what a pairing!
Devotions
All night you pace between our bed and another room in the house, fetching glasses of water when you mean shots of gin. The candle doesn't catch your naked body-- a leg, the cut of stubble-- only the shadow of its leaving, the whole of you uncontainable like the moon, its kissable face and its darker chambers.
Mary offers her mangled son, a matchmaker, from the dollar-store votive by the bed. (Other nights John the Baptist rolls his eyes at me.) You're the one who stayed, or at least never left. You stay because of hard rain, or dead magnolia on the drive; or is it custom for the wounded to care for the wounded?
Where are you? I need a solitary room with you in it. Wall me in. Lie down on me.
I think reading poetry is like practicing yoga: you just have to do it to being doing it. I miss more because my technique isn't there and I don't necessarily have the training to get the full experience, but the trying, I think, is what counts most. Read some poems. It's good for you. -Sarah
A pipe burst somewhere. The record kept turning Porgy and Bess. Granddad sang the old blues tune. I told him my name. The water was burning
when we went to the coast, green and churning like collards in the kitchen. It was June. A pipe burst somewhere. The record kept turning.
He took worm-colored pills at ten in the morning, sometimes he wandered off. I’d find him at noon, streets away, calling my name. Water was burning
from Gulf Breeze to Grand Isle, the Gulf swirling like vinyl. Egrets blackened the bayou. A pipe burst somewhere. The record kept turning
when we watched the news in the nursing home: men in white scanned the dunes. I told him my name, that the water was burning.
He looked through my eyes and sang fish are jumpin. . . I said his name, washed his feet, left the room. A pipe burst somewhere. The record kept turning. I told him my name. The water was burning.
Luminous, from beginning to end. Possibly my favorite was the first poem, "Tidewater Psalm", which begins:
"By sunset, the crickets' trilling begins in the airless damp, rich with salt and the sulfurous fumes the Gulf flags off. Bristling cattails brush my hands. The light-crested water rises and falls like a chest flecked with blonde hairs. I feel estranged from You."
Or this stanza from "Heaven and Earth":
"Rain connects heaven and earth. The rivers, stained as if by wine, are indigo. Flashes stain the skyline's smooth tableau. Lightning's nimble fingers thread a bow into the ombre sky and then will sew new stars into the hem or maybe throw it all away - how easily bodies blow apart, warp and weft, wake and undertow."
So you want to kiss the passionflowers in his hands, the blooming flies and blood? So you would fast and serve his meals, meats and bread, liquors, sweets? Happily, you say, drunk on the waters of his smile. And if he does not smile that day? If out of boredom he says, kneel and wash my feet, every day you must drink of this water. Happily, you say. Again with this happiness. And if he breaks you? Batters you with his fists? Batters you like a dorr and hands back your happiness —a dozen knocked teeth—would you say Again my lord? What wouldn’t you pay for an endless night with the god? O you who would starve for such music, there is another sweetness saved for those who wash and bind the wounds, who join the feast.
I will never not think of honey, water fowl, and golden light when recalling this book. It's gorgeous. Our paths crossed during undergrad, and I love that this book is in the world. There are whispers of Martha Serpas in this collection, which I also love. Of course it is entirely, brilliantly its own.
I wasn’t sure how I would feel about this collection when I started it. As I continued to read the collection, I was drawn to how the poet fuses so many things together. He blends art, music, religion, spirituality, mythology and history into the poems. I can see why Brit Bennett recommends this collection. It was her recommendation that caused me to pick up this collection.
Reread “TROUBLE THE WATER”. This is hands down one of my favorite books, and I come back to it often, especially when I’m trying to channel excellent writing of the natural landscape. I'm super excited to read his new work “TENDERNESS”.
I feel like I just got back from a really inspiring and sobering trip (travel not drugs). This is a pleasant adventure with poems, and I especially liked "Persian Blue" and "Dead Gull."